超女粉丝与当代大众文化消费

【作者】 杨玲；

【导师】 陶东风；

【作者基本信息】 首都师范大学 ， 文艺学， 2009， 博士

【摘要】 湖南卫视主办的《超级女声》节目曾在2005年掀起了一场全民娱乐风暴,成为当代中国媒介娱乐工业史上的一座里程碑。大量来自不同阶层、职业和年龄段的超女粉丝,不仅为他们喜爱的超女选手提供了全方位的热情支持,还利用新媒介技术形成了自己独特的粉丝文化。在本论文中,我将以一个“学者粉”(aca-fan)的身份,论述我个人在过去三年多的时间里亲身参与、观察到的超女粉丝文化。本论文的核心观点是,超女粉丝社群的出现代表了一种更活跃、更自主、更富参与性的大众文化消费模式正在中国逐渐成形。这种消费模式以愉悦、认同和想像为核心,以新媒介的生产和消费为主要活动,以粉丝网络社群为平台,以粉丝文化制成品为标志。它打破了生产和消费的传统二元对立,改变了媒介娱乐工业中消费者和生产者的权力关系,并涉及性别政治、阶级认同和道德观念等重要社会问题。本论文分为四章。第一章提出了论文的理论框架和研究方法。我首先概述了西方的三种主要消费理论,以及英美粉丝研究中对粉丝与消费关系的论述。粉丝作为过度的、完美的和积极的消费者,表明消费其实也是一种复杂的社会文化活动。为此,我对文化消费进行了重新界定,把文化和消费都视作消费者制造意义和建构认同的过程。超女粉丝的文化消费就是围绕意义、认同、社群和文化参与等要素展开的。在本章的第三节,我分析了现有超女粉丝研究中的不足,并试图用民族志的研究方法和学者粉的主体立场来弥补这些缺失。第二章论述了粉丝文化消费模式的心理根源:粉丝认同。认同是围绕明星建立起来的粉丝文化的一个关键维度,粉丝对于特定明星的喜爱和依恋主要是基于对该明星的认同。认同既是粉丝消费和文化参与的基石,也是粉丝社群凝聚力的源泉。在借鉴西方理论资源的基础上,我根据超女粉丝社群的实际情况,把超女粉丝与偶像的认同划分为认同话语、认同实践和认同仪式三个相互关联的层面,并对这三个层面进行了逐一阐释。本章试图回答的问题是:超女粉丝究竟是如何与偶像建立认同的?这种认同是通过哪些形式和实践展演的,蕴含了怎样的社会、道德和审美理想?第三章讨论的是粉丝文化消费模式的第二个面向:新媒介和参与性文化。其具体表现形式就是粉丝“产消者”的出现。超女粉丝不仅是过度的消费者,同时还是不知疲倦的偶像推广者和媒介生产者。他们利用新媒介技术开展了一系列颇有成效的草根宣传,为娱乐公司节省了大量的宣传费用。本章首先分析了流行音乐工业的发展变迁和大陆偶像经济的出现,然后论述了玉米的产消实践,揭示了粉丝产消者出现的制度、技术和社会语境。本章结尾还讨论了粉丝与娱乐公司的合作和冲突,粉丝产消者与工业生产者之间的权力博弈。第四章将研究重心从粉丝产消者转移到了粉丝生产者,以超女粉丝小说为例,探讨了粉丝社群的文化生产。本章讨论了两种不同类型的超女粉丝小说:一个是百度“小葱的图书馆”吧发表的以李宇春为原型的玉米原创小说,另一个是百度“绯色超女”吧发表的以06超女为原型的超女同人文。我分别从创作动机、主题、惯例和主要代表作等方面对这两个亚文类进行了论述。我认为,与流行的商业言情小说相比,超女粉丝小说更真实、更大胆地反映了女性的幻想和欲望,其中一部分文本还蕴含了激进的性别政治。在结语中,我提出粉丝文化是一种超越了旧有理论范式的新型大众文化。研究粉丝文化有助于我们重新反思“大众”、“大众文化”、“消费”等文化研究中的关键术语,有助于我们更多地了解当代中国大众文化的混杂性和矛盾性。更多还原

【Abstract】 The 2005 season of the TV singing contest Super Girl, organized by Hunan Satellite TV, swept the whole nation with amazing popularity and success. Fans from all walks of life and age groups not only provided enthusiastic support to their favorite contestants but formed their own unique fan cultures. In this dissertation, I present a discussion of the Super Girl fan cultures based on my participant observation over the past three years. I argue that the rise of Super Girl fandoms represent the emergence of a more active, autonomous, and participatory mode of cultural consumption in China. With pleasurable identification and fantasy as its core, this mode of cultural consumption is characterized by the utilization of new media and fan production in an internet-based fan community. While breaking up the traditional production/consumption dichotomy and changing the power relations between producers and consumers in the media-entertainment industry, this new style of cultural consumption also involves important social issues such as gender, class, and ethics.The dissertation consists of four chapters. Chapter One outlines the theoretical framework and research methodology of the whole project. I first summarize the three major theories of consumption in western history and review discussions of fan consumption in Anglo-American fan studies. As the excessive, consummate, and active consumers, fans demonstrate that consumption is in fact a complex socio-cultural activity. I therefore view culture and consumption as synonym, both referring to the process of consumer’s meaning-making and identity-construction. In the third section of this chapter, I justify my use of ethnography and the strategic adoption of aca-fan position through analyzing the deficiencies in current domestic research of Super Girl fandoms.Chapter Two dwells on the psychological origin of fans’cultural consumption– identification with their beloved idols. Identification is a crucial dimension of celebrity fandoms, as fan attachments derive from their identification with the stars. Identification is thus the bedrock of fans’consumption and cultural participation, as well as the source of solidarity of fan community. Drawing on the theories of Jackie Stacy and P. David Marshall, I categorize Super Girl fans’identification with the contestants into three inter-connected levels– identificatory discourse, identificatory practices, and identificatory rituals– and expound them respectively. Using Corns as an example, I attempt to explain how Super Girl fans establish identification with the contestants, how they perform identification through different forms and practices, and what kind of social, ethical, and aesthetic ideals are embedded in this process of identification. Chapter Three focuses on the use of new media and the emergence of what Henry Jenkins has dubbed“participatory culture”in the cultural consumption of Super Girl fans. One defining feature of participatory culture is the rise of fan“prosumer.”The Super Girl fans are not only excessive consumers, repeatedly purchasing of their idols’music products, but also tireless promoters and media producers. By utilizing new media technologies, they have launched effective grass-root promotional campaigns for their idols and helped the entertainment companies save a large amount of promotional costs. In this chapter, I analyze the institutional, technological, and social contexts of the rise of fan prosumers, and offer a detailed case study of the prosumption practices of Corns, with special attention to the complicity and conflicts between fans and corporations.Chapter Four shifts the focus from fan prosumers to fan producers by studying the fan fiction produced by Super Girl fans. I explore two different subgenres of Super Girl fan fiction: the heterosexual romance based on the image and character of Li Yuchun and the same-sex Girl Love fiction modeled on the contestants of 2006 season of Super Girl.Through discussing the motives, themes, literary conventions, and representational works of each subgenre, I argue that compared to popular commercial romance, Super Girl fan fiction in general provides more daring and realistic portrayals of women’s desire and fantasy, some of which even contain strong feminist sentiments and radical gender politics. In Conclusion, I suggest that fan culture is a new form of popular culture that goes beyond traditional theoretical paradigms. Studying fan culture helps us reconsider key terms such as“the mass/popular,”“mass/popular culture,”and“consumption”in Chinese cultural studies, and deepen our understanding of the complexity and hybridity of contemporary popular culture.更多还原